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I play the double bass, electric bass, most brass instruments - with a preference for the low - and some other instruments, as well as sing (choir, รก capella and solo). I know a fair bit of music theory and arranging, as well as some musical acoustics. I have a huge crush on musical instruments in general. My main focus is jazz and related genres, but I find myself in other contexts now and then.


May
28
comment Why does this key change work?
I think @DavidAxtellMooreII is correct. The chord progression is I-IV-I-IV and the key change is to D (although this new tonic is never played).
May
28
comment Why does this key change work?
Just a comment about down voting: My opinion, and my interpretation of the faq, is that, when you find something is wrong or misleading, it's better to leave a comment (which you did :-) and thus give the author a chance to react and adjust before casting a down vote. It is very frustrating to get a down vote and receive no explanation of why, nor a chance to correct it. Everyone is (hopefully) doing the best they can to help but sometimes it ends up wrong - let's help each other solve those cases.
May
23
comment Is it possible to create the illusion of a sub-harmonic?
@luserdroog Aha. Bummer... :-) I was actually thinking of something more in terms of using a volume tremolo effect pedal that had tremolo frequency adaption based on the pitch played. What further options/ideas could there be?
May
23
comment son vs. rumba clave and bass line
That is very kind of you. However I'm thinking there actually might be 'rules' for latin that I don't know of. For example, when arranging jazz there are situations where you want to avoid having one instrument or section starting a note on a down beat if another instrument or section started a note on the preceding syncope (I believe due to the risk of it sounding like sloppy playing, rather than two different rhythmical note values, if the syncope is very delayed).
May
23
comment Removing human voice from songs
Often the song is mixed in center, i.e. equally present in the right and left channel, while other instruments/sounds often are panned a bit to either channel. If this is the case and you phase shift one channel and mix this together with the unaltered other channel into a mono track I believe you pretty much eliminiate the song. Obiously this will impact and possibly ruin other parts of the music, so it might not be a solution to you, but maybe good to know for someone.
May
23
comment Rhythm/Drum exercises without drums
I've read about a rhythm vervbalizing system that was in the style of "one ka ta ka, two ka ta ka, ..." but I don't remember where or any name for it. In this (disputed) Wikipedia article some others are listed, including the one NReilingh describes: en.wikipedia.org/wiki/Rhythm_syllables
May
21
comment Is there a color code for notes?
I've never heard of a standard coloring. But as a related note, there is the concept, or phenomenon, of 'synesthesia' - by which some people correlate different notes with different colors. en.wikipedia.org/wiki/Synesthesia
May
20
comment Playing trombone with a beard?
The troubles I describe are, for me, lesser on a trombone/bass trumpet or euphonium mouthpiece and non-existing on a trumpet mouthpiece.
May
20
comment son vs. rumba clave and bass line
In my book anything is legal as long as you feel that it sounds and/or feels good. However it would be really interesting if someone knowledgable in latin music would elaborate on this. :-)
May
20
comment Is there some software tool that analyzes audio to produce pitch information?
Does it handle microtones that seemed necessary for the sample clip Hassan gave?
May
18
comment Most common jazz theory method book
+1 Was gonna be my suggestion. It might be on the heavy side since it covers everything?
May
7
comment Techniques for memorizing a musical idea and “saving it to paper”
@spanger: On occations when I haven't had a recording device accessible I've actually called my own telephone answering machine singing to it. :-)
May
7
comment Dissonance across different octaves
You are absolutely correct about the flat-five. :-)
May
4
comment Dissonance across different octaves
@Gauthier: the "roughness" is an effect of the construction of the ear. The two tones stimulate overlapping regions of the basilar membrane. The frequency bandwidth sensitive for overlap is increasingly greater at low frequencies (below 1000 Hz). I've written a longer explanation in another answer. :-)
May
4
comment Dissonance across different octaves
@MatthewRead: yes, the third note is a combination tone. See en.wikipedia.org/wiki/Combination_tone or my answer to music.stackexchange.com/questions/5824/… .
May
3
comment Music hardware needed to be able to produce the sounds & style in the following video
Add a computer with software for sequencing, recording and processing.
May
3
comment How to fret an F# root note with a drop-E capo?
It would have been nice with sort of a button you could press with your thumb that fretted the F#! :-)
May
2
comment Scale from Hungarian Rhapsody No.2
Interesting. I perceive the Eb (b2) tone to be a key characteristic for the phrase and the passing over E to be subimportant. So in choosing one scale that captures the characteristics perceived by me I would vote for mixolydian b2 b6. That's why. I realize this judgement of mine is important information, and perhaps I should have asked idober if he would settle for an answer ignoring the E and, if not, have given the EDIT two scales answer right away. (Or, if idober would have been okay with ignoring the Eb, stated that what was left was a mixolydian b6.)
May
1
comment Scale from Hungarian Rhapsody No.2
:-) And I'm thinking it doesn't really matter. I just wanted to give an alternative interpretation when posting my answer.
May
1
comment Is it possible to create the illusion of a sub-harmonic?
@luserdroog: I pluck them simultaneously using my index and middle fingers. And yes I try to have a little more emphasis on the B. (One day I might post a video, but don't get your hopes up...)